Yesterday, 9th September 2014, I attended Pilots to Practice at BALTIC – a ArtWorks North East conference about participatory arts. I presented a PechaKucha entitled above ground level: old as new, new as old – social practice in a post-industrial port (see my previous post below for the presentation). I also wrote a review of an ArtWorks publication about research into participatory artists’ practice for the #culturalvalue initiative. I was a bit critical in the review. I was (apparently) ‘provocative’ in my presentation. This is my reflection about the day. (Reflection is, it would appear, very big in participatory arts right now…)

I’m just going to be brief. My aim here is to attempt to scratch a niggling itch that developed at this conference. I’ve felt it before. It does not go away. I think it is, in fact, growing…

The itch results from the appropriation of ‘participatory art’ and ‘participation’ by everyone for everything in which people are in some way involved in art. There is nothing wrong with this. People can call what they do whatever they want. Most of the discussions here were about ‘loosely’ participatory, often artist or organisation-led, forms of participatory practice. There were some nice examples of ‘community art’ used for obliquely political purposes and of anger at the system. There was a good breakout session that briefly but effectively introduced ‘dialogic practice’. I tried to be honest and differentiate forms of social practice. People seemed to like it. It stimulated a brief discussion about the de-politicisation of socially engaged or community arts practice, which was interesting. But, nonetheless, the itch crept and crawled around me…

I think the scratchy itch is a product of artists who think social practice is about leading people, pied piper-like, into doing art their way, to their, sometimes seemingly narcissistic agendas; audience members having sudden epiphanies (echoed by the chair’s closing sermon, complete with mock-amens and ironic hallelujahs!); neutral research about the importance for space for artist reflection; a proposed participatory artist network called PALS; over-invested long-term project members hoping for further funding. I won’t go on. Scratch. Scratch.

Don’t get me wrong. Events like this (and there are many like this) are fascinating. Stirring me to do my practice differently. Fascinating for my research. Initiatives like ArtWorks are, of course, useful. They won’t change the (arts) world. They can’t. There are too many vested interests; too many believers. My family were (are) evangelists. I can spot preachers a mile away. I know ‘preaching to the converted’ when I see it.

My problem is that the preaching is (unlike that of my Grandmother) weak and bland. Not radical. Not potentially emancipatory. Blurry. Fuzzy. Safe. Not a paradigm-shift. Perhaps subtle elitism? Rebuilding the ramparts of an old status-quo. Be honest. This will not change the world.

COLOURING IN CULTURE

A blog by PhD researcher, art historian, curator, writer, activist and community arts practitioner Stephen Pritchard about art, activism and politics in the place where we live.

My research covers participation in art and culture spanning from everyday creativity, participatory art, socially engaged art and social practice to social praxis, political art and activist art; from state instrumentalisation to carnivalesque freedom.